Symbolism

Symbolism (1889-1897)

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OVERVIEW	Symbolism is a movement that initially emerged in literature in 19th-century France and was later adopted by artists. The label "symbolist" comes from the critic Jean Moréas, who coined it to distinguish Symbolists from the related decadent movement in literature and art. In 1886, he published “The Symbolist Manifesto,” which proclaimed that Symbolism opposed "plain meanings, declamations, false sentimentality, and matter-of-fact description." French Symbolism served both as a continuation of the Romantic tradition and as a reaction to the realistic approach of Impressionism. The art movement itself is characterized by an elegant, subtle, and intellectual style, with a central theme revolving around mystery and spirit. Symbolists believed that reality could be expressed allegorically through symbols in poetry, art, and music. They embraced the idea of a spiritual realm and another reality that was more accurately conveyed through emotions, dreams, and sensory experiences. Rather than being a strict art movement, Symbolism represented a comprehensive ideological trend. However, artworks from this period can be recognized by their metaphorical, suggestive nature and adherence to romantic traditions. Several distinct groups of Symbolist painters and visual artists emerged, including Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Edvard Munch, Félicien Rops, and Jan Toorop. As an influential art movement, Symbolism significantly impacted later movements such as Expressionism and Surrealism, which descended directly from it.





HISTORY	Symbolism can primarily be recognized by its distinctive rhetoric and the philosophical underpinnings that shaped the movement. The poet Jean Moreas, in what many considered a Symbolist manifesto published in Le Figaro Littéraire on September 18, 1886, emphasized the importance of pure subjectivity and the representation of the "Idea." He asserted that "symbolic poetry endeavors to clothe the Idea in a sensitive form which, nevertheless, would not be an end in itself, but would be subordinate to the idea while serving to express it." Moreas argued that art should start with a simple objective point of departure and transcend beyond it. A week later, poet and critic Gustave Kahn responded to Moreas, advocating for the right of poets and artists to disregard the mundane and the contemporary, choosing instead to indulge in a realm of dreams where subjective experience could reign. He stated: "We wish to be able to place the development of the symbol in any period whatsoever, and even in outright dreams (the dream being indistinguishable from life)." His contribution underscored the goal of Symbolist art to "objectify the subjective" rather than "subjectify the objective," contrasting sharply with the Naturalist approach of writers and painters like Zola and Monet. By 1891, critic Albert Aurier formally codified the principles of Symbolist painting into five distinct terms: 1. Ideist: Art expresses an ideal through the portrayal of ideas. 2. Symbolist: Ideas are expressed through specific forms. 3. Synthesist: Forms are presented in a way that is broadly understandable. 4. Subjective: The object is seen as a symbol of an idea perceived by the subject rather than as an object in itself. 5. Decorative: True decorative painting is an expression of art that is subjective, synthetic, symbolic, and ideist. The resulting formula distilled from these concepts stated that Symbolism valued the representation of dreams, visions, and subjective states through a restrictive, non-naturalistic vocabulary of line, tone, and color. Despite this generally accepted rhetoric, Symbolism's historical and ideological significance sparked varied interpretations. For some, like painter Maurice Denis, Symbolism represented a "Neotraditionism" emphasizing Christian values like quietism, piety, and hierarchical stability. Denis reflected on how the movement's rejection of Naturalism facilitated a new form of spirituality, stating, "All the sentiment of the work of art comes unconsciously, or almost so, from the state of the artist's soul." On the other hand, critics like Neoimpressionist advocate Félix Fénéon viewed Symbolism as a means of creative freedom and sensual liberation, which contributed to an emerging revolutionary anarchism. He described Gauguin's work as an artistic creation that transcended reality, emphasizing harmony and cooperation among vibrant colors that retained their independence. These opposing views illustrate the complex ideological distinctions within Symbolism, revealing that any comprehensive definition of the movement must account for its varied interpretations. Gauguin’s work, as a principal battleground for Symbolist discourse, will serve as a focal point in examining the movement, particularly as it intersects with the principles of Naturalism in landscape painting.





CHRONOLOGY	1880 Durand-Ruel resumes buying paintings from Sisley andPissarro. Exhibitions: April 5th Impressionists group; May outwards Salon; April LaVie moderne offices, Manet; June LaVie moderne offices, Monet. 1881 Durand-Ruel resumes buying paintings from Renoir and Monet. Exhibitions: April 6th Impressionists group; May outwards Salon (new organised, under the control of the artists); LaVie moderne offices, Sisley; June LaVie moderne offices, Redon. 1882 Exhibitions: march 7th Impressionists group; May outwards Salon, May LaVie moderne offices, Redon. 1883 April Death of Manet. Exhibitions: Durand-Ruel, series of one-man shows: Boudin (Feb.), Monet (March), Renoir (April), C.Pissarro(May); May outwards Salon, Sept. outwards Exposition Nationale. 1884 Exhibitions: Jan. Ecole des Beaux-Arts, Manet (retrospective); 4-5 Feb. Manet studio sale; May outwards Salon; May-July Salon des Artistes Independants; Dec. Societe des Artistes Independants, 1st exh. 1885 Exhibitions: May outwards Salon; May-June G. Petit, 4th Exposition Internationale. 1886 March, VanGogharrives in Paris.Gauguinvisits Brittany for first time. Death of Monticelli. First Neo-Impressionists paintings shown at 8th and last Impressionist exhibition. Exhibitions: May outwards Salon; May-June 8th impressionists group, June-July 5th Exposition Internationale; Aug.-Sept. Independants. 1887 Gauguinlives in Martinique. Exhibitions: Feb.-March Le Tambourin café, Japanese prints, organised be Vincent vanGogh. March-May Independants; May outwards Salon; May-June 6th Exposition Internationale; spring (?) Le Tambourin café, Dec.-Jan. 1888 Revue independante. 1888 VanGoghleaves Paris for Arles.Gauguinjoined be Bernard at Pont-Aven in Brittany. Oct.,Gauguinjoins VanGoghin Arles. 1888-9, by Serusier, Denis, Bonnard, Ranson, joined 1889 by Vuillard and Roussel. Exhibitions: Jan. Boussod&Valadon (Theo van Gogh); Durand-Ruel, exh. Inc. Degas; March-May Independants; April Boussod&Valadon (Theo van Gogh); Sept.-Oct. Revue independante offices Dubois-Pillet. 1889 Exhibitions: May outwards Salon; May outwards Exposition Universelle; June-July G.Petit, Monet-Rodin (retrospective), Sept.-Oct. Independants; 1890 Death of Vincent vanGogh, Exhibitions: March-May Independants; May outwards Salon des Artistes Francais; May outwards 1st exh. of the Societe Nationale des Beaux-Arts (founded as alternative to the Salon des Artistes Francais, with Meissonier as President, Puvis de Chavannes as Vice-President; often known as the Salon du Champ de Mars). 1891 Deaths of Theo vanGoghandSeurat.Gauguinleaves for Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Dec. Le Barc de Boutteville, 1st Exposition des Peintres Impressionnistes et Symbolistes. 1892 Exhibitions: Feb. Durand-Ruel, C.Pissarro, Monet; March-April Independants; May Le Barc de Boutteville, 2nd Exposition des Peintres Impressionnistes et Symbolistes; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Nov. Le Barc de Boutteville, 3rd Exposition des Peintres Impressionnistes et Symbolistes; 1893 Death of Pere Tanguy. Vollard opens gallery in rue LaffitteGauguinis back from Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May (?)Le Barc de Boutteville, 4th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Durand-Ruel,Gauguin,Cassatt, Dec. Le Barc de Boutteville, 5th Exposition des Peintres Impressionnistes et Symbolistes. 1894 Exhibitions: Jan. –Feb. Durand-Ruel, Guillaumin; March Durand-Ruel,Pissarro; March. Le Barc de Boutteville, 6th Exposition des Peintres Impressionnistes et Symbolistes; March-April Durand-Ruel, Redon, April-May Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec, Manet, Caillebotte (retrospective), July Le Barc de Boutteville,7th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Le Barc de Boutteville, 8th Exposition des Peintres Impressionnistes et Symbolistes. 1895 Exhibitions: April-May Independants; April-May Le Barc de Boutteville, 9th Exposition des Peintres Impressionnistes et Symbolistes; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Monet; Sept. Le Barc de Boutteville, 10th Exposition des Peintres Impressionnistes et Symbolistes; Dec.-Jan. 1896 Bing. Salon de l’Art Nouveau. 1896 Exhibitions: Jan. Durand-Ruel, Bonnard, Guillaumin, Morisot (retrospective); c. March. Le Barc de Boutteville, 11th Exposition des Peintres Impressionnistes et Symbolistes; April-May Independants; April-May Durand-Ruel, C.Pissarro, Renoir; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Summer Le Barc de Boutteville, 12th Exposition des Peintres Impressionnistes et Symbolistes; Sept. Durand-Ruel, Puvis de Chavannes; Nov. Le Barc de Boutteville, 13th Exposition des Peintres Impressionnistes et Symbolistes. 1897 Exhibitions: April-May Independants; April outwards Salon des Artistes Francais; April outwards Societe Nationale; June-July Le Barc de Boutteville, 14th Exposition des Peintres Impressionnistes et Symbolistes; Dec. Le Barc de Boutteville, 15th Exposition des Peintres Impressionnistes et Symbolistes. 1898 Exhibitions: Feb.-March Durand-Ruel, Zandomeneghi; April Durand-Ruel, Guillaumin; April-June Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May Durand-Ruel, Moret; June Durand-Ruel, C.Pissarro. 1899 Exhibitions: April Durand-Ruel, C.Pissarro, Renoir, Sisley; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May-June Durand-Ruel , Jongkind (retrospective); June-July Durand-Ruel, Puvis de Chavannes; Oct.-Nov. Durand-Ruel, Luce; Oct.-Nov. Independants. 1900 Picasso first visits Paris. Exhibitions: April Durand-Ruel , Redon; April outwards Salon des Artistes Francais; April-Oct. Exposition Universelle; Nov.-Dec. Durand-Ruel, Monet; Dec. . Independants. 1901 Death ofToulouse-Lautrec. Exhibitions: Jan. Feb. Durand-Ruel, C.Pissarro; March Societe Nouvelle; April Durand-Ruel, Valtat; April-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Moret. 1902 Exhibitions: Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec. June Durand-Ruel, Renoir, Roussel. 1903 Death ofGauguinin Marquesas Island and of CamillePissarro. Exhibitions: March Durand-Ruel, Redon; Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Dec. Salon d’Automne (1st exh.), Nov. Durand-Ruel, Zandomeneghi. 1904 Bernard visits Cezanne at Aix. Exhibitions: Feb-March Durand-Ruel, Moret, Feb.-March Independants; April Durand-Ruel, C.Pissarro; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1905 Exhibitions: March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1906 Denis and Roussel visit Cezanne at Aix. Death of Cezanne and Carriere. Exhibitions: Feb.-March Durand-Ruel, Redon, Manet, Monet; March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne . 1907 Exhibitions: March-April Independants; April Durand-Ruel,, Moret; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1908 Exhibitions: March-May Independants; April-June Societe Nationale; Oct.-Nov. Salon d’Automne.





EXHIBITIONS	1883 Oct., Les XXfounded in Brussels by O. Maus and 20 Belgian artists. 1884 Brussels, Feb.-March 1st Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe; (invitees): Chase, Gervex, Heymans, J.Israela, Maris, Mauve. 1885 Brussels, Feb.-March 2nd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels; (invitees): Cazin, Fantin-Latour, Mellery, Mesdag, Raffaëlli, Uhde. 1886 Brussels, Feb.-March 3rd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Vogels; (invitees) Besnard, Breither, Degas (but refused to send), Monet, Monticelli, Redon, Renoir, Whistler, Zandomeneghi. 1887 March-May, Idependants, inc.: Angrand, Cross, Dubois-Pillet, Luce, Maurin, L. Pissarro, Redon, Henry Rousseau,Seurat,Signac. Brussels, Feb.-March 4th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) Cazin, C.Pissarro, Raffaëlli, Rodin,Seurat, Sickert. 1888 March-May, Idependants, inc.: Angrand, Anquetin, Cross, Dubois-Pillet, Van Gogh, Luce, Maurin, L. Pissarro, Rousseau, Seurat,Signac. Brussels, Feb.-March 5th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) : Anquetin, Blanche, Burne-jones (but refused to send), Degas (but refused to send), Dubois-Pillet, Forain, Guillaumin, Helleu, Mellery,Signac, Whistler. 1889 May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard,Carriere, Cazin, Dagnan-Bouveret, Fantin-Latour, Guillou, La Touche, Maignan, Martin, Maurin, Puvis de Chavannes, Raffaëlli, Roll, Tissot. Sept.-Oct. Idependants, inc.: Anquetin, Dubois-Pillet, Filiger, Van Gogh, Hayet, Luce, O'Conor, L. Pissarro, Rousseau,Seurat,Signac,Toulouse-Lautrec. Brussels, Feb.-March 6th Les XX, inc.: (members) Ensor, Finch, Knopff, Lemmen, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) : Besnard, Cross,Gauguin, Klinger, Luce, Monet, C.Pissarro,Signac, Steer, W.Stott. 1890 March-April, Idependants, inc.: Angrand, Anquetin, Boch Anna, Cross, Dubois-Pillet, Filiger, Finch, Van Gogh, Guillaumin, Luce, O'Conor, L. Pissarro, Rousseau, Rysselberghe,Seurat,Signac,Toulouse-Lautrec, Van de Velde. Brussels, Feb.-March 7th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde, Vogels; (invitees) : Cezanne, Dubois-Pillet, Van Gogh, Hayet, Mellery, L. Pissarro, Redon, Renoir, Segantini, Signac, Sisley,Toulouse-Lautrec. 1891 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Cross, Dagnan-Bouveret, Harrison, Hodler, La Touche, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Whistler. Dec. Le Barc de Boutteville, 1st. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bernard, Bonnard, Cross, Denis, Filiger,Gauguin, Van Gogh, Luce, Manet, Ranson, Roussel, Serusier,Signac,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 8th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) :Angrand, Chéret, Grane, Filiger,Gauguin, Van Gogh, Guillaumin, C.Pissarro,Seurat, Steer, Verster. 1892 March-April, Idependants, inc.: Angrand, Anquetin, Bernard, Bonnard, Boch Anna, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Seurat(retrospective),Signac, Toorop,Toulouse-Lautrec. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lhermitte, Liebermann, Puvis de Chavannes, Raffaëlli, Whistler. May, Le Barc de Boutteville, 2nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Bernard, Bonnard, Cross, Denis, Luce, C.Pissarro, Serusier,Signac,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 3nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Cross, Denis,Gauguin, C.Pissarro, Roussel, Serusier,Toulouse-Lautrec. Brussels, Feb.-March 9th Les XX, inc.:(members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Signac, Toorop, Van de Velde, Vogels; (invitees) : Besnard,Cassatt, Denis, Horne, Image, Luce, Mellery, L.Pissarro,Seurat,Toulouse-Lautrec. 1893 March-April, Idependants, inc.: Amiet, Angrand, Anquetin, Bonnard, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Signac, Steinlen,Toulouse-Lautrec, Vallotton, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Blanche, Carriere, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Rothenstein, Simon, Tissot. May (?) Le Barc de Boutteville, 4th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Cottet, Denis, Filiger, Guillaumin, C.Pissarro, Roussel, Serusier,Signac, Toorop,Toulouse-Lautrec, Vallotton, Vuillard. Dec. Le Barc de Boutteville, 5th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Cottet, Denis,Gauguin, Guillaumin, Lacombe, Luce, Moret, Ranson, Roussel, Serusier,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 10th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe,Signac, Toorop, Van de Velde; (invitees) : Bernard, Besnard, Cross, Madox Brown, Steer, Thorn Prikker,Toulouse-Lautrec. 1894 March Le Barc de Boutteville, 6th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bonnard, Conder, Cottet, Denis, Filiger,Gauguin, Guillaumin, Hayet, Lacombe, O'Conor, Ranson, Seguin, Serusier, Vuillard. April-May, Idependants, inc.: Amiet, Angrand, Cross, Denis, Luce, Moret, L. Pissarro, Rousseau, Signac,Toulouse-Lautrec, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Sargent, Simon, Tissot, Whistler. July Le Barc de Boutteville, 7th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Denis, Guillaumin, Hayet, Moret, O'Conor,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 8th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Cottet, Denis, Filiger, Forbes-Robertson, Guillaumin, Hayet, Lacombe, Maurin, Moret, O'Conor, Seguin, Serusier,Toulouse-Lautrec. 1895 April-May, Idependants, inc.: Angrand, Cross, Forbes-Robertson, Lacombe, Luce, Moret, Rousseau, Rysselberghe, Serusier,Signac,Toulouse-Lautrec. April-May, Le Barc de Boutteville, 9th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Denis, Forbes-Robertson, Hayet, Moret, Ranson, Serusier. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dauchez, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Simon, W. Stott. Sept. Le Barc de Boutteville, 10th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Forbes-Robertson, Hayet, Maillol, O'Conor, Seguin. 1896 March, Le Barc de Boutteville, 11th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Lacombe, Maillol, Serusier. April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Beraud, Blanche, Boldini, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, Harrison, La Touche, Lavery, Le Sidaner, Liebermann, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Simon, W. Stott. Summer, Le Barc de Boutteville, 12th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Guillaumin, Roussel. Nov. Le Barc de Boutteville, 13th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Roussel. 1897 April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac,Toulouse-Lautrec, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Le Sidaner, Matisse, Raffaëlli, Roll, Simon, W. Stott, Whistler. June-July, Le Barc de Boutteville, 14th. Exposition des Peintres Impressionistes et Symbolistes. Dec. Le Barc de Boutteville, 15th. Exposition des Peintres Impressionistes et Symbolistes,inc.:Toulouse-Lautrec. 1898 April-June, Idependants, inc.: Cross, Luce, Rousseau,Signac. May onwards Societe Nationale, inc.: Aman-Jean, Anquetin, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, La Touche, Le Sidaner, Levy-Dhurmer, Puvis de Chavannes, Raffaëlli, Sargent, Simon. 1899 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, La Touche, Le Sidaner, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Simon, W. Stott. Oct.-Nov. Idependants, inc.: Cezanne, Cross, Luce,Signac. 1900 April-Oct. Exposition Universelle. Exposition centennale de i'art francais, 1800-1889,inc.: Bastien-Lepage, Beraud, Besnard, Boudin, Carriere, Cazin, Cezanne, Degas, Fantin-Latour,Gauguin, Guillaumin, Maignan, Manet, Maurin, Monet, Monticelli, Moreau, Morisot, C.Pissarro, Puvis de Chavannes, Raffaëlli, Renoir, Roll,Seurat, Sisley, Vallotton, Exposition decennale des Beaux-Arts, 1889-1900, inc.: Adler, Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, chabes, Cheret, Cottet, Dagnan-Bouveret, Dauchez, Guillou, La Touche, Le Sidaner, Levy-Dhurmer, Maignan, Martin, Raffaëlli, Roll, Simon.German sectioninc.: Klackreuth, Liebermann, Slevogt, Von Stuck.Austrian sectioninc.: Klimt, Kupka.Belgian sectioninc.: Claus, Ensor, Evenepoel, Khnopff, Vogels.Dutch sectioninc.:Toorop.American sectioninc.: Harrison, Sargent, Whistler. British sectioninc.: Clausen, Stanhope, La Thangue, Lavery, Melville, Osborne, Rothenstein,E. Stott.Italian sectioninc.: Boldini, Morbelli, Pellizza, Segantini.Swiss sectioninc.: Amiet, Hodler. Dec. Idependants, inc.: Luce, Puy, Schuffenecker,Signac. 1901 April-May, Idependants,inc.: Angrand, Boch Anna, Bonnard, Cezanne, Cross, Denis, Ensor, Lacombe, Luce, Matisse, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Sigmac, Vallotton, Valtat, Vuillard. April-June Societe Nationale,inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, La Touche, Lavery, Le Sidaner, Raffaëlli, Simon 1902 March-May, Idependants, inc.: Bernard, Bonnard, Cezanne, Cross, Denis, Luce, Marquet, Matisse, Rousseau, Roussel, Rysselberghe,Signac,Toulouse-Lautrec(retrospective), Vallotton, Valtat, Vuillard. April-June Societe Nationale, inc.: Aman-Jean, Anquetin, Bernard, Besnard, Blanche, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Harrison, Hodler, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Sickert, Simon, Whistler. 1903 March-May, Idependants, inc.: Angrand, Bonnard, Camoin, Cross, Denis, Dufy, Forain, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Sickert,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Besnard, Blanche, Boldini, Bonnard, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Le Sidaner, Maillol, Raffaëlli, Roll, Sargent, Sickert, Simon, Vallotton. Oct.-Dec. Salon d'Automne (1st exh.), inc.: Adler, Aman-Jean, Besnard, Blanche, Bonnard, Carriere,Gauguin, Guillaumin, Harrison, Marquet, Matisse, Moret, O'Conor, Rouault, Von Stuck, Vallotton, Vuillard. 1904 Feb.-March, Idependants, inc.: Bonnard, Camoin, Cross, Delaunay, Denis, Van Dongen, Dufy, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier,Signac, Vallotton, Valtat, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Bakst, Beraud, Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Rouault, Sargent, Simon, Whistler. Oct.-Nov. Salon d'Automne,inc.: Adler, Bonnard, Camoin, Carriere, Cezanne, Delaunay, Denis, Guillaumin, Kandinsky, Lavery, Liebermann, Maillol, Marquet, Matisse, Moret, O'Conor, Puvis de Chavannes, Redon, Renoir, Rouault, Roussel,Toulouse-Lautrec, Vallotton, Valtat, Van Dongen, Vuillard, Zandomeneghi. 1905 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Van Gogh, Herrmann, Kollwitz, Lacombe, Luce, Marquet, Matisse, Munch, O'Conor, Rouault, Rousseau, Roussel, Rysselberghe, Serusier,Seurat, Sickert,Signac, Vallotton, Valtat, Vlaminck, Vuillard. April, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Guthrie, Harrison, Henry, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Camoin, Carriere, Cezanne, Derain, Van Dongen, Duchamp-Villon, Friesz, Guillaumin, Ingres, Jawlensky, Kandinsky, Lavery, Maillol, Manet, Marquet, Matisse, Moret, O'Conor, Picabia, l.Pissarro, Raffaëlli, Redon, Renoir, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard. 1906 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Braque, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Herrmann, Lacombe, Leger, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rouault, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Vallotton, Valtat, Vlaminck, Vuillard. April onwards, Societe Nationale, inc.: Aman-Jean, Beraud,Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Brancusi, Camoin, Carriere, Cezanne, Delaunay, Derain, Van Dongen, Dufy, Friesz,Gauguin, Guillaumin, Kandinsky, Kupka, Lavery, Marquet, Matisse, Moret, O'Conor, Redon, Renoir, Rossi, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard; plus exh. of Russian art, organized by Diaghilev. 1907 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Delaunay, Derain, Dufy, Gilman, Gore, Herrmann, Kandinsky, Luce, Matisse, O'Conor, Ranson, Rousseau, Roussel, Schuffenecker, Serusier,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Blanche, Claus, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Braque, Camoin, Cezanne, Delaunay, Derain, Dufy, Fergusson, Friesz, Guillaumin, Kandinsky, Kupka, Lavery, Leger, Marquet, Matisse, Moret, Redon, Rouault, Rousseau, Sickert, Vallotton, Valtat, Vlaminck; plus belgian exh. inc.: Claus, ensor, Evenelopoel, Finch, Khnopff, Mellery, Rops, Rysselberghe. 1908 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Derain, Finch, Gilman, Gore, Kandinsky, Luce, Munch, O'Conor, Rousseau, Roussel, Schuffenecker, Serusier, Sickert,Signac, Vallotton, Vlaminck. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Claus, Cottet, Dauchez, Denis, Fergusson, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Camoin, Denis, Derain, Van Dongen, Duchamp, Fergusson, Friesz, El Greco,Kandinsky, Lavery, Leger, Marquet, Matisse, Monticelli, Moret, O'Conor, Ranson, Rouault, Sickert, Vallotton, Valtat, Vuillard, Vlaminck.





ARTISTS	Fantin-Latour, Henri Ignace Jean Théodore Henri Fantin-Latour was a unique figure in the 19th-century art world who often expressed his ambivalence towards labels and movements, famously stating, "The blood in my veins is much too mixed for me to be upset by questions of nationality and schools of thought." He maintained his independence throughout his career and was never fully committed to any of the major movements of his time, such as Impressionism or Symbolism. Fantin-Latour received his initial education in painting from his father and continued his training with Lecoq de Boisbaudran, where he developed his skills by copying Old Masters at the Louvre. His friendships with prominent artists of the time, such as Édouard Manet and James Whistler, positioned him within the vibrant intellectual and artistic circles of his era, particularly at the Café Guerbois. He is best known for his portraits, intimate scenes, and still lifes, particularly his exquisite flower paintings. His roses, in particular, garnered him significant acclaim. His early submissions to the Salon met with mixed results; his portraits were rejected in 1859 but accepted in 1861, marking the beginning of his public recognition. Fantin-Latour's connection with the art world extended beyond France. He traveled to England multiple times, notably with Whistler, and became celebrated there for his floral compositions. Between 1872 and 1874, he focused primarily on flower subjects, producing remarkable works that showcased his technical skill and sensitivity. One of his significant contributions to portraiture is Homage to Delacroix, painted in 1864, where various artists and critics are depicted gathered around a self-portrait of the late Eugène Delacroix. The painting features notable figures such as Duranty, Manet, Whistler, and Baudelaire, highlighting the interconnectedness of the artistic community of that time. Another celebrated work is The Studio at the Batignolles, which honors Manet, showing him at his easel surrounded by other important figures in the arts, like Renoir, Zola, and Monet. Fantin-Latour's keen interest in music also influenced his art. His admiration for Wagner is evident in works such as The Three Rhine Maidens (1876), inspired by the opera Rheingold, and Tannhauser (1886). Additionally, his lithographs display the lyrical and individual qualities that characterize his work. Fantin-Latour's legacy lies in his ability to blend intimate portraits with the beauty of still life, particularly flowers, creating a unique vision that resonates with both traditional and modern sensibilities. His artworks remain appreciated for their technical skill, emotional depth, and the rich relationships they depict within the artistic milieu of 19th-century France. Gauguin, Paul Paul Gauguin, born to a French father and a Creole mother, began his artistic journey in the early 1870s while working as a stockbroker. It wasn't until 1883 that he committed himself fully to painting, despite his early friendships with prominent artists such as Camille Pissarro and his participation in the final four Impressionist exhibitions, which did not yield significant financial success. In 1886, seeking artistic rejuvenation, Gauguin left his family and relocated to Pont-Aven in Brittany, where he established the "Pont-Aven School" by gathering a group of like-minded artists. His time in Brittany was marked by experimentation and a search for a more profound artistic language, culminating in his notable collaboration with Vincent van Gogh in 1888. However, this partnership ended dramatically, illustrating the tensions often present in Gauguin's relationships with fellow artists. Gauguin's journey truly transformed when he moved to Tahiti in 1891. This relocation reflected more than a mere geographical change; it symbolized Gauguin's quest for an untainted existence, one wherein he felt a deep connection with nature. In Tahiti, he sought to embrace a "primitive" lifestyle, a goal that deeply influenced his artworks. During this period, he progressively redefined his approaches to light, color, and form, reacting against the scientific theories embraced by the Impressionists, particularly the pointillists. Gauguin distanced himself from traditional techniques such as perspective and naturalistic color, opting instead for a more expressive style. Many of his Tahitian works reflect a nostalgia for a lost harmony between humanity and nature, an ideal that seemed increasingly unattainable due to the impact of French colonialism on indigenous culture. Much of what remained of the original Tahitian way of life had been overshadowed or erased by colonial power. To express his vision of a primitive life, Gauguin employed artistic devices such as the alignment of figures with minimal overlap, the juxtaposition of frontal and profile views, and the use of stiff, immobile facial expressions accompanied by "talking" hands. These stylistic choices evoke comparisons to ancient Egyptian and Javanese art, creating a unique synthesis between the perceived primitivism of the Tahitian culture and his own artistic sensibilities. By superimposing the aesthetics of a seemingly exotic culture over the realities of the island, Gauguin constructed a simulated world rich with mystery and wonder. His works not only articulated his own yearnings for a deeper, more authentic connection with existence but also invited viewers to engage with a vision of art that transcended the everyday, offering a glimpse into a more vibrant, primal vision of life. Gauguin's legacy lies in his ability to infuse modern art with themes of spirituality, emotion, and the allure of the 'primitive,' fostering a lasting fascination that continues to resonate in contemporary discourse about art and culture. Moreau, Gustave Gustave Moreau was a pivotal figure in the development of the Symbolist movement, characterized by his unique approach to painting, which combined academic rigor with a deeply imaginative vision. As a classically trained artist, he produced intense, fantastical oil paintings and watercolors often inspired by mysticism and personal visions. His works are known for their intricate detail, rich colors, and mythological themes, which evoke emotional and spiritual responses. Moreau's role as a teacher at the prestigious École des Beaux-Arts in Paris allowed him to influence a generation of artists, most notably Henri Matisse. Matisse, along with the Fauves—who sought to use color expressively rather than descriptively—and later the Surrealists, drew inspiration from Moreau's innovative approaches to color and form. His teachings emphasized the symbolism of color and its ability to convey deeper meanings, which resonated with his students and shaped their artistic pursuits. Despite his influence, Moreau's work did not escape criticism. Some contemporaries viewed his style as overly romantic or theatrical, attributing this to what they perceived as his "pseudo-romantic tricks." This tension is particularly evident in his painting Salome Dancing Before Herod (1876), where he explores the dynamics of the femme and male archetypes. In this work, Moreau delves into themes of desire, power, and the seductive yet perilous nature of femininity, which are recurrent motifs throughout his oeuvre. The painting depicts Salome performing her dance for Herod, and it showcases Moreau's distinct visual language, which merges vivid colors and dreamlike imagery with symbolism and narrative depth. The intertwining of the feminine and the masculine within his works reflects broader cultural and psychological themes, encapsulating the complexities of human experience. Moreau's legacy is significant as he helped to shape the transition to modern art through his explorations of symbolism, color theory, and the emotional resonance of visual storytelling. His influence on later movements underscores his importance as a bridge between academic tradition and the emerging avant-garde, making him a key figure in the evolution of 19th and early 20th-century art. Puvis de Chavannes, Pierre His career as an artist was inspired by a visit to Italy. After seeking the advice of Delacroix, he settled in Paris in the Place Pigalle in 1852 and worked independently. The State, after repeatedly rebuffing him, purchased La Paix and commissioned several paintings for the Amiens Museum. He concentrated on hastily painted figures with uncouth movements, closely integrating them with landscape. The Childhood of Saint Genevieve (1876) disarmed the critics. He decorated the Sorbonne (1884), the Hôtel de Ville (1889-1893), and the Panthéon. He profoundly influenced both the Nabis and Degas. Maurice Denis acclaimed his decoration of the Sorbonne, and Maillol copied The Poor Fisherman. Puvis de Chavannes gave expression to the ideas that preoccupied the 1885 generation. His art was, in fact, "symbolic," and the Symbolist critics revered him as a precursor (Décollation de Saint Jean-Baptiste, 1870). One might almost call him an academic Gauguin, for in following the pure Idea he abstracted himself from nature. His classical temperament demanded from Greco-Roman culture that it detach him from actuality and serve as a springboard to assist his soaring vision. Rather than seeking to recreate Antiquity, he sought to liberate the poetic power it affords to the imagination. He brought back the primitive two-dimensional concept and returned to the profile figure without perspective. His gift for murals and his outstanding decorative ability are unquestionable.





GALLERY

	Pierre Puvis de Chavannes, The White Rocks, 1869-1872, Private collection


	Gustave Moreau, Oedipus and the sphinx, 1884, Metropolitan Museum of Art


	Paul Gauguin, The Green Christ (Calvaire breton), 1889, Royal Museums of Fine Arts of Belgium


	Paul Gauguin, The Yellow Christ, 1889, Albright-Knox Art Gallery , New York


	Fantin-Latour, Henri, Naiad Circa 1896, Hermitage Museum


	Gustav Klimt, A section of the Beethoven Frieze, 1901, Osterreichische Galerie





BIBLIOGRAPHY	Art: Architecture, Painting, Sculpture, Graphics, Techniques, Bath, 2011. Essential History of Art, Bath , 2001. Jalard, Michel-Claude: Post-Impressionism, Paris, 1966. Shone, Richard: The Post-Impressionism, London, 1979.





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